Thursday, December 30, 2010
John Monson, Bed VII, 2010
BETWEEN SILENCE-PAINTINGS BY JOHN MONSON-FORM/SPACE ATELIER
JANUARY 20 THROUGH FEBRUARY 13, 2011-
VERNISSAGE 1/20/2011 6PM
Between Silence is John Monson’s second solo show at Form/Space Atelier and his third overall. Monson keeps a studio in picturesque Fall City. His work for this exhibit moves from the seascapes of 2010’s The Water Poet to the hardscapes of the most domestic of interiors. -Paul Pauper, Curator, Form/Space Atelier.
While perhaps suggesting emotional content beyond the work itself, the subject matter of this show is also a formal technique that provides a means of visually activating the surface of the paintings. Similar to the waves in my water series, the fabric folds provide a way to modulate and divide the canvas while creating a relatively shallow depth of space. Keeping the space shallow allows the viewer to quickly shift attention between the content of the forms and the fact of the paint on the surface. The black voids are interesting to me in that they can either visually dominate (suggesting ideas about silence or infinity), or disappear completely. My hope is that the viewer will have an emotional response to each painting and to the show as a whole, but it is not my place to prescribe what those emotions should be. What most interests me right now is the movement of attention within, between and beyond content, ideas, and silence.
I live and work near Seattle, Washington. I received my BFA from Western Washington University. Awards include top honors in ten juried art competitions. I draw heavily upon natural, organic forms, and move easily between realism and abstraction. I like to establish a dialog between carefully worked realism and impulsive, organic forms. This broad and inclusive integration of diverse styles reveals my belief that art plays a role in creating our worldview. Hopefully my work reflects a view that is not exclusive and fragmented, but rather more complete, more tolerant and integrating. -John Monson
Posted by Paul Kuniholm Pauper at 2:45 PM
Friday, December 3, 2010
Form/Space Atelier Program For December 2010
Exhibit Title: New Stuff
Exhibit Duration: December 16, 2010-January 16, 2010
Vernissage: 6PM December 16, 2010
Holiday Hours: Closed Christmas Eve, Christmas, New Year's Eve and New Year's Day. Wed-Sat 12-4PM and Sundays Message 206-349-2509 For Personalized Viewing.
Sam Birchman exhibits oil on canvas paintings, well-drafted, with
figuration and other imagery in 2010's "New Stuff". Sam Birchman has been integrating sculptural elements in his paintings for at least two years. This is the fifth exhibit of Sam Birchman’s work curated by Paul Pauper, dating back to 2007. Sam Birchman returned to Seattle after spending months in New York City recently. About his own work, Sam says “I live and work in downtown Seattle. I received my BFA in Studio Painting from the Evergreen State College in 2004. I am mainly interested in faces and figures. I find that I need to have a living being in my paintings in order for them to feel complete, whether it be a human, an animal, or just a suggestion of one or the other. I prefer my spaces to be somewhat undefined. The setting is less important to me than the interaction between the figures on the canvas. The process of painting itself is what I truly enjoy, from stretching and priming the canvas to applying paint and seeing what happens and how I respond to it.” Sam keeps a studio in the Vain Hair Salon Building, along with Form/Space Atelier-exhibited artist Michael Lane and others. Sam’s father is artist Fred Birchman, represented by Francine Seders.
Wright Exhibition Space (Group Show), Seattle, WA
Café Verite, Seattle, WA
26 Brix, Seattle, WA
Angle Gallery, Seattle, WA
Form/Space Atelier, Seattle, WA
Form/Space Atelier (Group Show), Seattle, WA
Caffeine Café, Seattle, WA
JAS Cabinet Shop, Seattle, WA
Le Voyeur (Group Show), Olympia, WA
The Evergreen State College Gallery 4 (Senior Thesis), Olympia, WA
Paul Pauper, Curator
2407 1st Avenue
Seattle, WA 98121-1311
Presents Vernissage Each
Posted by Paul Kuniholm Pauper at 5:53 PM
Monday, November 15, 2010
Form/Space Atelier Program For November 2010
Exhibit Titile: Connecting Knots
Exhibit Duration: November 18-December 12, 2010
Vernissage: November 18, 6PM
"Connecting Knots is non-objective landscapes, wrought in 2D and sculptural mixed-media objects, created by Megan M. Hosch-Schmitt. Connecting Knots is a solo exhibit, the first by Ms. Hosch-Schmitt at Form/Space Atelier. Ms. Hosch-Schmitt is an art educator at both The Childrens Museum of Seattle and the Seattle Country Day School. Ms. Hosch-Schmitt received both her MFA and BFA in Art Education from Nothern Iowa University." -Paul Pauper, Curator, Form/Space Atelier
"Connecting Knots is a mixed media exploration of a Midwest artist's journey to discover 'self' and a sense of home in Seattle's urban landscape.
In this visual journey, the artwork moves through a structure of patterns and knots which contain links to the natural world, decorative arts and human life. Within this structure is another connecting layer of images that symbolize personal and universal struggles faced along the way. For example, the audience may find an antlered doe laboring over issues in gender equality, a bird fleeting to or from feminine stereotypes, and a tree removed from the forest to
In the exhibition, Connecting Knots, it is undeniably the struggles of the artist's passage that led to the shaping of the knots and patterns to form. However, the artistic process of retelling the story is what allowed for the knots to heal and unwind and the patterns to break, giving this exhibition its true context and visual interest." -Megan M. Hosch-Schmitt
Posted by Paul Kuniholm Pauper at 11:06 AM
Sunday, October 10, 2010
Form/Space Atelier Program For October 2010
Exhibit Title: Steel: A Symphony of Industry
Exhibit Duration: October 21-November 13, 2010
Opening Reception: October 21, 6PM
Steel: A Symphony Of Industry is photographer Dan Hawkins fourth solo exhibit and his fifth overall at Form/Space Atelier. The exhibit consists of photographs, sculpture and sound, and video installation.
Hawkins narrative for Steel: A Symphony of Industry:
In 2008 I began traveling to the rusting furnaces of the Bethlehem Steel Mill in Bethlehem, PA. This is a manufacturing organization whose origins reach back to the mid 19th century. The plant is oriented around a series of four blast furnaces towering over the city at a height of 285ft each. This industrial relic tells a story of a different time and I felt compelled to document these remains as part of an attempt to convey the sense of transition and history that was embedded within its walls. After rising to become one of the industrial giants of the US the plant closed its doors forever in 1995. Visiting the site, it came as a great surprise for me to discover that the grounds on which the steel works had once forged the girders that were used to support structures such as the Golden Gate Bridge, were now being cleared for the construction of a new enterprise: The Sands Casino Resort - Bethlehem. I am endlessly fascinated by these demonstrations of our collective will.
This exhibit will consist of a series of photographs taken at the site over the last two years along with a sculptural sound piece and a video work that was created using archival footage for which a new score has been composed. In my work I attempt to speak to the hidden hand that enacts the grand course of our culture and society. It seems that these narratives sometimes do not match the views we hold of ourselves. This leaves us with an interesting question: Who then is doing this? It is my hope to address this question by interpreting the landscapes and enterprises we have enacted as evidence of this deeper impetus.
Posted by Paul Kuniholm Pauper at 9:11 PM
Thursday, September 30, 2010
*Domicile* is the current performance cycle presented by Project; Group: Collective. It will take place over the course of five days. Each performance is sufficient in it's self and also part of the whole. The focus of Domicile is the materializing patterns in everyday life to extract the beauty and purpose of our collective motions in modern humanity. The performance on October 15th at Form/Space Atelier is the second to last ...installment of Domicile.
Domecile marks the second performative exhibition of artist Kellie Patricia Lynch at Seattle gallery Form/Space Atelier. Lynch's first exhibit, Dinner For One, occurred in November 2008 in a parking lot adjacent to Form/Space Atelier. Lynch uttered the rosary for about two hours on the rough asphalt, she had rendered poetic text on her back, it was cold, sad and pure.
*Project; Group: Collective* is a group of progressive multifaceted artists that align their similar interests sporadically to create tangible evidence of gedanken experiments within the Art:Life conversation.
Artists for Fall 2010:
Spencer Philip, actor/visual artist
Nick Carlson, actor/musical engineer
Kellie Patricia Lynch, dancer/publicity
Shanessey Scott, double bassist
Full Domicile schedule:
Tuesday, October 12th - Bike So Good, Georgetown 8pm
Wednesday, October 13th - the intersection of
Spokane St. and Airport Way 7pm
Thursday, October 14th - TBA
Friday, October 15th - Form/Space Atelier, 2407 1st Ave. 7pm
Saturday, October 16th - Gallery 1412 8pmSee More
Posted by Paul Kuniholm Pauper at 6:35 PM
Thursday, September 16, 2010
Show Title: "Split Level"
Show Duration: September 17-October 16, 2010
Vernissage: September 17, 6-8PM
Closing Reception: October 16, 6-8PM
Split Level is a site-specific sculptural introgression narrating the hubris of built-environment largesse contaminating landscape. Split Level is the third exhibit of Paula Rebsom at Form/Space Atelier. Prior Paula Rebsom exhibits at Form/Space Atelier: Designated Landmarks(2007), Outskirts(2009).
Paula Rebsom Statement For Split Level:
In October of 2008, a house in Southwest Portland slid 300 feet down a hill, crashing into the houses below with a woman inside of it. No one was hurt, although several homes were damaged and others red flagged, deemed unsafe for human occupancy. It was later determined that the landslide was triggered by water from an underground sprinkler system.
Seattle is no stranger to urban landslides and Form/Space Atelier’s unusual exhibition space is perched on a hillside, descending into a basement. This interior architecture presents a perfect opportunity for me to explore urban housing developments, landslides and the intersection between the natural and built environments.
Split Level explores the negative unforeseen results that occur when, often in an attempt to live closer to nature, humans attempt to defy the laws of gravity and forces of nature by building where the land is unstable. There are a wealth of documentary images showing houses that are a foot away from falling over the edge of a steep hillside, houses that have sunk into their foundations, or that have completely smashed into a pile of rubble. These images, which I find both haunting and beautiful, served as a starting point for this work helping to inform the shifts of planes that the siding takes as it plunges into the basement and collapses under the weight of a small boulder. The gray planes immerse the viewer in an environment that recalls the flat, gray surfaces of photographs documenting landslides in the Pacific Northwest.
Posted by Paul Kuniholm Pauper at 7:45 AM
Friday, August 6, 2010
Mick Lorusso, Work Of The Ant People, 2010.
Form/Space Atelier Program For August 2010
Show Title: Essence of Light/Essence of Life
Show Duration: August 19-September 5, 2010
Vernissage: August 19, 6PM
Essence of Light/Essence of Life are new drawings and photos mostly
inspired by a journey to the Peruvian Amazon. This exhibit is Mick
Lorusso's first solo exhibit at Form/Space Atelier, his third overall. Lorusso participated in 2008's An Exhibit Of Robert Storr's Autograph And Other Work at Form/Space Atelier, also 2007's Countdown/Build To Destroy at Form/Space Atelier.
More information on Mick Lorusso:
Posted by Paul Kuniholm Pauper at 6:37 PM
Monday, July 5, 2010
Form/Space Atelier Program for July 2010
Show Title: "1 Eightfold Six Trinity"
Show Duration: July 15-August 15, 2010
Vernissage: July 15, 2010, 6PM as part of 3rd Thursday www.BELLTOWNARTWALK.com
1 Eightfold Six Trinity is large scale works on paper, calligraphic
elements rendered in ink, over grounds of orange/silver or blue/gold. Shinto clerics collaborated as a group anonymously to produce the parchments; the objects were collected by Curator Paul Pauper during a recent trip to San Francisco’s Japantown.
1 Eightfold Six Trinity seeks to alter Form/Space Atelier into a shrine-like edifice where refuge from the incomprehensible agitations of the material world will evaporate, diminish and disappear forever.
Shinto has very ancient roots in the Japanese islands. The recorded history dates to the Kojiki (712) and Nihon Shoki (720), but archeological records date back significantly further. Both are compilations of prior oral traditions. The Kojiki establishes the Japanese imperial family as the foundation of Japanese culture, being the descendants of Amaterasu Omikami. There is also a creation myth and a genealogy of the gods.
The Nihonshoki was more interested in creating a structural system of government, foreign policy, religious hierarchy, and domestic social order.
There is an internal system of historical Shinto development that configures the relationships between Shinto and other religious practices over its long history; the inside and outside Kami(spirits). The inside or ujigami (uji meaning clan) Kami roles that supports cohesion and continuation of established roles and patterns; and the hitogami or outside Kami, bringing innovation, new beliefs, new messages, and some instability.
Jomon peoples of Japan used natural housing, predated rice farming, and frequently were hunter-gatherers, the physical evidence for ritual practices are difficult to document. There are many locations of stone ritual structures, refined burial practices and early Torii that lend to the continuity of primal Shinto. The Jomon had a clan based tribal system developed similar to much of the worlds indigenous people. In the context of this clan based system, local beliefs developed naturally and when assimilation between clans occurred, they also took on some beliefs of the neighboring tribes. At some point there was a recognition that the ancestors created the current generations and the reverence of ancestors (tama)took shape. There was some trade amongst the indigenous peoples within Japanese islands and the mainland, as well as some varying migrations. The trade and interchange of people helped the growth and complexity of the peoples spirituality by exposure to new beliefs. The natural spirituality of the people appeared to be based on the worship of nature forces or mono, and the natural elements to which they all depended.
The gradual introduction of methodical religious and government organizations from mainland Asia starting around 300 BCE seeded the reactive changes in primal Shinto over the next 700 years to a more formalized system. These changes were directed internally by the various clans frequently as a syncratic cultural event to outside influences. Eventually as the Yamato gained power a formalization process began. The genesis of the Imperial household amnd subsequent creation of the Kojiki helped facilitate the continuity needed for this long term development through modern history. There is today a balance between outside influences of Buddhist, Confucian, Taoist, Abrahamic, Hindu and secular beliefs. In more modern times Shinto has developed new branches and forms on a regular basis, including leaving Japan.
Posted by Paul Kuniholm Pauper at 5:14 PM
Monday, June 7, 2010
Form/Space Atelier Program For June 2010
Show Title: Recent Studies and Paintings
Show Duration: June 17-July 11,2010
Vernissage: June 17, 6PM as part of the www.BELLTOWNARTWALK.com
Recent Paintings and Studies is a solo show of paintings by master artist Michael Lane. Subjects of the exhibit include images of the artists recently deceased mother.
Michael Lane was given private art lessons all throughout grade and middle school. He was exhibiting as semi-professional artist from the age of 11, and as a professional artist by age 14.
His concentration in art throughout high school focused on printmaking under guidance of Tyler School of Art trained instructor William Luber (stone lithography, screen printing, intaglio, relief printmaking techniques and illustration).
After leaving high school in 1984, he worked as a professional portrait and wedding photographer and in dark rooms for commercial printing companies in Philadelphia, PA while training at night in traditional figurative painting techniques at Fleisher Art Memorial in Philadelphia during the week and at The Philadelphia Sketch Club on weekends.
He began full-time fine art study on a full scholarship at The Pennsylvania Academy of the Fine Arts in 1988 as a painting major with a sculpture minor, studying under Ben Kamahira, Roswell Weidner, Sidney Goodman, Lou Sloan, Elizabeth Osbourne and Arthur De Costa.
In 1994, he went on to assist the great artist/chemist/art historian Arthur De Costa in his studio, and in 1995 Lane began a two-year private apprenticeship with celebrity portrait painter Nelson Shanks at his home and studio in Andalusia, PA. "This was the most important phase of my training. Nelson taught me to paint," Lane says.
While executing commissioned portraits and teaching drawing over the next 10 years, he began designing sets for theater, film and TV, and went on to work for Boston Lyric Opera, Opera Company of Philadelphia, Santa Fe Opera, Seattle Opera, Pacific Northwest Ballet and many other companies and as designer, painter and sculptor.
He also ran a print shop, mural company, faux-finishing studio, mold-making service and sculpture department for fabrication companies.
Lane is now happy to be a full-time painter and part-time fine-art teacher in Seattle, WA. He is represented by Seattle gallery Form/Space Atelier.
People make art in order to enlarge their means of expression. Art is a powerful means of communication which can convey things to an audience which using words alone cannot. We are artists because we have a strong desire to interest others in what has interested us. We render an object and/or convey our feelings to make those feelings or that object real to another person. Our art can be said to be successful in the proportion that it produces these shared feelings of reality in a viewer.
In taking up the study of any art a vast field is unfolded. To the earnest student, it means unlimited possibilities and endless sources of delight. Robert Henri said ‘When the artist is alive in any person, he or she becomes an inventive, searching, daring, self-expressing creature.’
The artist applies much careful thought when choosing what to include in a work of art. It is in the value of what we think that we develop as artists. We develop our thoughts along with our eyes.
The true artist must be a careful workman. We work towards a true mastery of our materials and tools and strive for a complete understanding of the medium in which we work. The more we study art the more we realize that materials are of great importance in the expression of thought.
But we are not only artists when we have a tool in hand. We are always artists, and are busy seizing impressions and suggestions and storing them in mind for a later time. We learn, as artists, to be interested in and to derive great pleasure from seeing what other people have not learned to see so that we can then share these feelings and impressions.
It is a field which requires vital, intense effort but one which affords us all the chance to grow as unique individuals. Ernest Dimnet, the great French writer and lecturer declared “the thinker, whether he or she wishes to or not, is a leader…The thinker is preeminently a person who sees where others do not’.
For additional information and images of Michael Lane's work, please visit
Tuesday, June 1, 2010
Saturday, May 8, 2010
Form/Space Atelier Program For May 2010
Show Title: "For M."
Show Duration: May 20-April 13, 2010
Vernissage: May 20, 6p.m. as part of the !NEW! Third Thursday Belltown
ArtWalk. See www.belltownartwalk.com for details.
The exhibit "For M." is paintings of botanical subjects using
watercolor and other media.
Elara Tanguy describes the simple, affectionate organizing principle
of "For M.":
"M, for my grandmother, Mary. She's a painter (almost 90 now, and can't
paint anymore) and has been a big influence on my work."
"For M." is Elara Tanguy's first exhibit at Form/Space Atelier.
Curator Paul Pauper made his first studio visit to Elara at the Bemis
Building in 2009.
A Seattle-based artist and illustrator, Elara Tanguy has created
original, hand-drawn art for companies such as: Van Leeuwen Artisan Ice
Cream, Storey Publishing, Workman Press, Garden Way, and Brown Shoe Co.,
Inc. She received a BFA from Parsons School of Design in 2003.
Posted by Paul Kuniholm Pauper at 1:59 PM
Friday, March 19, 2010
Thursday, March 18, 2010
photo: K.E. Dallum, all rights reserved.
Form/Space Atelier Program For April 2010
Show Title: 54th Statehood Exposition
Show Duration: April 15-May 16, 2010
Vernissage: April 15, 6p.m. as part of the !NEW! Third Thursday Belltown ArtWalk. See www.belltownartwalk.com for details.
54th Statehood Exposition consists of new black-and-white photographs and a co-located new media exhibition by Kristen Elsbeth Dallum. Curator Paul Pauper frames the exhibit by hypothesizing creation of a 54th state, somewhere in the South Pacific Ocean, where utopia exists, limited only by the bounds of imagination.
Kristen Elsbeth Dallum graduated from the University of Washington School of Art with a BFA in Interdisciplinary Visual Arts. She has worked with youth artists at Arts Corp, Seattle, finding creative solutions to individual and group efforts, and at Camp Sealth, Vashon Island, where Form/Space Atelier Curator Paul Pauper lived from 10 years old until he was 25, and Pauper still has many family members living there. "54th Statehood Exposition" is Kristen Elsbeth Dallum's second solo photography exhibit at Form/Space Atelier. The photographs are editions of one, and are 8x10 inches. Prices are $200 each. Exhibit is free.
Saturday, February 6, 2010
Plates: Top: plate 1, Hecate Rising, Middle: Plate 2, Resurrection, Bottom: Plate 3 Plaything. All images, Juliette Fretté, all rights reserved.
Looking critically at the paintings of Juliette Fretté, a position could be established that her work has much in common with primitivism, both as images and as philosophical examples of primitivist thought. Her background is as an art outsider, outside of matriculated academic experience, lending credence to the position Juliette Fretté is primitivist.
A greater number of self-taught artists have been defined as primitivist than the minority of degreed artists practicing primitivist artforms. At one time, Pablo Picasso was most likely the most well-known practitioner of primitivism, in summation; his academic experience began very young under the direction of his artist father. When Pablo was 13 he spectacularly entered the Barcelona Academy of Arts. While most students needed a month to study for the entrance exam, Picasso used a week. He blew the examining body away despite his adolescent age. Next, his father and uncle decided to send 16-year-old Pablo to the Madrid Academy "San Fernando", known later as the School of Art. Picasso's attendance lasted not a long time (less than one year). He never received a degree. Ten years later, one figure in Picasso's Les Demoiselles d'Avignon is a likeness of a primitivist African tribal mask, and Picasso ushered in the crossing over of primitivism to mainstream contemporary art with the advent of Les Demoiselles d'Avignon.
Images within the global vernacular of Juliette Fretté are consistent with forms enunciated by Picasso's primitivist period, generally attributed to Picasso during the period of 1907-1909. Figures resembling petroglyphs in plate 1, titled Hecate Rising demonstrate Fretté as a primtivist painter, if the painting imagery had been less densely composed and her pigments applied to a cave wall, the genre study would be complete. The figural forms in this painting have dimensions of tribal earmarking.
Next in Resurrection, at Plate 2, we find a highly consistent congruence in the compositional characteristics from the first painting to the next. To be more specific, Juliette Fretté has a strong uniformity of expression through her paintings, one of the prime reasons her work was chosen to be exhibited by Seattle-based curator and gallerist Paul Pauper in March 2010. But each work finds a highly original and distinctly unique method of conveying the visual information Juliette Fretté has chosen to communicate. In Resurrection, African primitivist influences and Indonesian indigenous styles are echoed.
Finally, the simplified symbolic, rune-like image of Plaything, at Plate 3, has reduced the primitivist aesthetic to the gestural sublimation of a Maori tattoo. From the selections exhibited here, Juliette Fretté displays the formal attributes of primitivism.
We have made the argument for establishing Juliette Fretté as a primitivist artist, her images contain the formal parameters circumscribing primitivism. Juliette Fretté's philosophical description posesses primitivist attributes as well. Juliette Fretté has established herself as a feminist columnist for the San Francisco Examiner. From this subjective position, she has espoused a tribal viewpoint, and by association, a primitivist viewpoint. The attribution is not hers, it must be clarified, but rather this essayist's opinion, that the tribal/primitivist connection might be hypothesized. Basques, Minangkabau, Mosuo, Berbers or Tuareg are examples of matriarchical or matrilocal tribal cultures. Strongly matrilocal societies sometimes are referred to as matrifocal, and there is some debate concerning the terminological delineation between matrifocality and matriarchy. Note that even in patriarchical systems of male-preference primogeniture there may occasionally be queens regnant, as in the case of Elizabeth I of England or Victoria of the United Kingdom. From this point of view, the theory is established for a philosophical primitivism on the part of Juliette Fretté.
Posted by Paul Kuniholm Pauper at 12:49 PM
Friday, January 22, 2010
Form/Space Atelier Program for February 2010
Show Title: Trombones Bleu
Show Duration: February 12- March 7, 2010
Opening Reception February 12, 6PM as part of the Belltown ArtWalk
Matthew Kandegas exhibits his third and final solo show at
Form/Space Atelier. Kandegas moved to Vaasa, Finland January 1, to
join an intentional community of Suomi (Lapplanders) endeavoring to
re-establish Suomi customs, language and culture in an urban milieu (
http://en.wikipedia.org/wiki/Korsholm ). The community has built in
the city a lichen farm, which, as fodder, will sustain a herd of
caribou. Kandegas will retain representation by Form/Space Atelier at
the request of his collectors located in Seattle, though as of press
time, Kandegas was unable to say whether he would continue to create
new paintings while in Finland, but said the move to Scandinavia was
"permanent and irrevocable...".
Matthew Kandegas has been described as a Post-Minimalist painter,
his subjects have been figural in response to stadium rock, but in the
last decade he has created only images of paperclips. Curator Paul
Pauper discovered Kandegas during research for organizing a
performative spectacle exhibition of Kyle MacDonald at Form/Space
Atelier in November of 2007. MacDonald is an artist and author of One
Red Paperclip... , an account of MacDonald's success in trading 14
times from a simple paperclip to a two-bedroom house.
Form/Space Atelier donated a Kandegas painting from his series
Trombones Jeunes to Strangercrombie 2009, his work is also in the
collections of MacDonald, Lindsey Daniel, The Low Income Housing
Institute, Cascade People's Center and several other charitable
Trombones Bleu translated from the French is blue paperclips, the
paintings exhibited are the latest series which began with Trombones
Rouge (red paperclips) followed by Trombones Jeune (yellow
paperclips). Trombones Bleu are oil on panel, mostly large scale (4
feet by 9 feet) oriented portrait. The panels constructed by Kandegas
for the paintings are reclaimed 1970's-era basement rumpus room
paneling which had been slated for a landfill by Kandegas'
ex-girlfriend's mother. The composition of the panels is mahoghany, or
more precisely shorea. Shorea is a genus of about 196 species of
mainly rainforest trees in the family Dipterocarpaceae. The genus is
named after Sir John Shore, the Governor-General of the British East
India Company, 1793-1798. They are native to southeast Asia, from
Northern India to Malaysia, Indonesia and the Philippines. In west
Malesia and the Philippines this genus dominates the skyline of the
tropical forests. The tallest documented tropical angiosperm is a 88.3
m tall Shorea faguetiana in the Tawau Hills National Park, in Sabah on
the island of Borneo, and in that park at least 5 other species of the
genus have been measured to be over 80 m tall: S. argentifolia, S.
gibbosa, S. johorensis, S. smithiana and S. superba. Borneo is also
the hotspot ofShorea diversity with 138 species, of which 91 are
endemic to the island. One hundred and forty eight species of Shorea
are currently listed on the IUCN Redlist. The majority of which are
listed as being critically endangered. Most all of the Shorea
Mahoghany has been logged using elephants and Matthew Kandegas reveres
the wise leviathans that elephants are. Consequently, he valued very
highly the 1970's-era rumpus room panelling that his ex-girlfriend's
mother was going to take to a landfill, and immediately rescued the
wood which had been, through the insurmountable agony of an elephant,
been delivered to the 1970's-era oblivious ones seeking to remain
status-quo with their bridge-and-tunnel neighbors. Kandegas feels the
mahogany must live on, with a new purpose, that being to punctuate the
art object he was creating, defining the rescued wood as would a vegan
pointing to a trophy head on a hunters wall. Paper comes from trees.
Paperclips are the steel fetters on the trees children, paper.
Handcuffs on the babies of mighty larch.
The current level of exploitation for trade is not sustainable, and
current forestry practices may be harmful to the survival of the
species. And even low levels of mahogany harvest can be problematic
because of the secondary effects of logging enterprises: they create
roads that provide access to farmers and migrants who clear the forest
for agriculture. Finally, conservationists are concerned about
big-leaf mahogany because Honduran mahogany (S. humilis) and Caribbean
mahogany (S. mahagoni) already have been over-harvested and are now
considered commercially exhausted.
Currently, mahogany populations are in decline in every range
state. Many scientists feel that big-leaf mahogany is at risk of
suffering the same fate as Caribbean and Honduran mahogany if trade in
the species is not more carefully regulated, and if forest management
techniques are not significantly improved. The Brazilian Botanical
Society and the Brazilian Institute of Environmental and Renewable
Natural Resources have both listed S. macrophylla as endangered.
IUCN-The World Conservation Union lists the species as vulnerable.
Mahogany has been popular for centuries. With a well-established
reputation on the international market for beauty and durability,
mahogany is traded worldwide as sawn wood, in plywood, as veneer, and
as finished furniture products. The hardness and deep reddish-brown
color of the wood make it a popular material for furniture, inlays,
veneers, and musical instruments.
At the 12th Conference of the Parties to the Convention on
International Trade in Endangered Species of Wild Fauna and Flora
(CITES) in November 2002, big-leaf mahogany was listed on Appendix II
of the convention. CITES is an international treaty, with more than
160 signatory nations, that regulates international wildlife trade.
Under the provisions of Appendix II, international trade is strictly
regulated - an exporting state must determine that any big-leaf
mahogany (including logs, sawn wood, veneer sheets, and plywood) has
been legally obtained and that harvest was not detrimental to the
survival of the species; only then can a CITES export permit be
issued. States importing the products must not accept shipments that
are not accompanied by a CITES permit issued by the exporting country.
Prior to the listing of big-leaf mahogany on CITES Appendix II,
the mahogany trade was to be conducted according CITES Appendix III,
on which it was previously listed by Bolivia, Brazil, Colombia, Costa
Rica, Mexico, and Peru. Evidence exists, however, that much of the
trade was not in compliance. Disparities in trade data - importing
countries reporting more mahogany imports than exporting countries
declared - indicate that there may be substantial illegal logging and
trading of mahogany. Illegally logged mahogany is exported out of
range states without proper CITES certification, and is almost
certainly harvested at levels that are unsustainable.
There is also evidence that mahogany is being harvested in
violation of local timber regulations, particularly in Brazil and
Peru, the world's largest exporters of mahogany. Mahogany is being
harvested from lands belonging to indigenous peoples, in violation of
Brazilian and Peruvian law. Recent press reports indicate that in some
cases indigenous groups are allowing illegal logging on their lands
and charging a premium to the loggers. In other cases, loggers
manipulate the indigenous groups into giving up their hardwood.
Conservationists estimate that more than half of the mahogany coming
out of Brazil and Peru may have been extracted from indigenous lands.
Until recently, the United States and the United Kingdom were by
far the largest importers of mahogany, together importing 80 percent
of the world's mahogany in trade. In the early 1990s, a consumer
boycott of mahogany in the United Kingdom drastically reduced that
country's share of the mahogany trade; however, the United States has
increased imports in recent years and made up the difference. Other
importing nations include the Dominican Republic, Argentina, Mexico,
Puerto Rico, Venezuela, Canada, France, Germany, the Netherlands,
Spain, Finland, South Africa, and Saudi Arabia. A great deal of
mahogany is also consumed domestically by the range states and, in
addition, range states trade mahogany with each other.
Between 1992 and 1998, the United States imported an average of
80,000 cubic meters of mahogany every year. Between 1989 and 1995, a
similar period, global mahogany trade averaged 111,000 cubic meters
per year. U.S. imports of mahogany account for the majority - nearly
60 percent - of total global trade. Most of the mahogany imported into
the United States comes from Brazil, with Peru and Bolivia important
Because the United States is the world's largest consumer of
mahogany, U.S. consumers can play a powerful role in protecting the
species from over-harvesting, by purchasing only those timber and
mahogany items that have been "green-certified" by an organization
such as the Forest Stewardship Council. Certified timber has been
harvested in a sustainable and legal manner, with minimal destruction
to surrounding forests. By purchasing only sustainably harvested wood,
consumers can help prevent big-leaf mahogany from suffering the same
fate as Caribbean and Honduran mahogany.
Posted by Paul Kuniholm Pauper at 11:43 AM